Impact of Lockdown Measures on Joint Music Making: Playing Online and Physically Together.
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ABSTRACT:
SUBMITTER: Onderdijk KE
PROVIDER: S-EPMC8193044 | biostudies-literature |
REPOSITORIES: biostudies-literature
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Project description:The esthetic appreciation of music is strongly influenced by cultural background and personal taste. One would expect that this would complicate the utilizability of musical feedback in paradigms, such that music would only be perceived as a reward if it complies to personal esthetic appreciation. Here we report data where we assessed esthetic appreciation of music after 1. a physically strenuous music improvisation and 2. after passive music listening (where participants esthetically assessed similar music). Data are reported from two experiments with different patient groups: 1. Drug abuse patients, and 2. Chronic pain patients. Participants in both experiments performed Jymmin, a music feedback method where exercise equipment is modified in such a way that it can be played like musical instruments by modulating musical parameters in a composition software. This combines physical exertion with musical performance in a fashion that has previously been shown to have a number of positive psychological effects such as enhanced mood and reduced perceived exertion. In both experiments esthetic appreciation of musical presentations during Jymmin and a control condition without musical agency were compared. Data show that both patient groups perceived the musical outcome of their own performance as more esthetically pleasing than similar music they listened to passively. This suggests that the act of making music (when combined with physical exertion) is associated with a positivity bias about the perceived esthetical quality of the musical outcome. The outcome of personal musical agency thus tends to be perceived as rewarding even if it does not comply with personal esthetic appreciation. This suggests that musical feedback interventions may not always have to be highly individualized because individual taste may not always be crucial. The results also suggest that the method applied here may be efficient at encouraging music listeners to actively explore new musical styles that they might otherwise be reluctant to listen to (e.g., avant-garde music). The results also hint toward a deeper understanding of why musicians, who exert themselves physically during musical performances to generate music and regardless of the type of music they are playing, typically find the physically demanding experience esthetically satisfying.
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Project description:Background: Gamification is an innovative approach to engaging in activities that people believe as less interesting. Recycling has been an issue not taken aware by the people in environmental sustainability. There are substantial studies on recycling intention due to the continual growth of unethical and unsustainable waste disposal. Creative approaches to recycling awareness activities should be made to fulfil youths' increasing interest in and demand for recycling. The main objective of this study is to explore the factors related to youths' recycling intentions after experiencing a gamified online recycling learning activity, Edcraft Gamified Learning (EGL). Gamified recycling education is believed to be a practical and engaging approach for youths. Methods: 100 students participated in EGL, consisting of two levels of plastic crafting and recycling activities. They experienced online EGL at home between May and September in 2020, during the COVID-19 pandemic total lockdown in Malaysia, namely, Movement Control Order (MCO). 29 participants were selected to participate in five focus group discussions (FGDs) with five to eight participants per session to explore their opinions towards gamified learning, motivation and recycling intention. Results: This paper reports the findings of the FGDs. A codebook was developed based on the codes from the FGD feedback. The codes were rated by two raters, followed by an assessment of inter-rater reliability and thematic analysis. The findings emerged and were confirmed with four themes as factors that influence recycling intention. They are gameful experience, social influence, intrinsic motivation, and extrinsic motivation. Conclusion: The dependent variable, recycling intention, was connected to the four themes to verify the conceptual framework. One limitation of the study was the design of the EGL activity, which was only carried out over two days with two levels of gamified recycling education, as students had concurrent academic online classes during that period.
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Project description:At the beginning of the pandemic, many music ensembles had to stop their activities due to the confinement. While some found creative ways to start making music again with the help of technologies, the transition from "real" rehearsals to "online" rehearsals was challenging, especially among older amateur musicians. The aim of this case study was to examine the effects of this transition on three community band conductors and three older amateur musicians. Specific objectives were to explore (1) intergenerational relationships to support online group music-making; (2) digital literacy and access in later life; and (3) online music-making in a COVID-19 context. Semi-structured interviews were conducted and theoretical thematic analysis was undertaken (Braun and Clarke, 2006). Results were analyzed from the conductors' and older musicians' perspectives, and common trends were combined to facilitate interpretation. The first theme showed that being part of an intergenerational ensemble contributed positively to the learning experience online. The second theme demonstrated that because both conductors and musicians were new to the online rehearsals, it contributed to attenuate the age-related digital divide that may have been observed in other studies. Regarding access in later-life, older musicians reported benefits associated with rehearsing online, specifically in terms of distance/commute, time, energy, and cost. However, for those who did not already have internet and electronic devices, the cost of acquiring all the necessary equipment to make music online could have been too high. Finally, the third theme revealed that musicians appreciated the opportunity to make music online and indicated that it was definitely better than having nothing, especially for its social aspects. In conclusion, while participants noted several challenges associated with online music-making (e.g., zoom fatigue and technological issues), they were also appreciative of the opportunity to continue making music at a time when in-person rehearsals were not possible. Pedagogical implications are discussed, specifically the importance of the support network, of meeting people where they are, of learning to adapt, and of collaborative teaching.
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Project description:The association between active musical engagement (as leisure activity or professionally) and mental health is still unclear, with earlier studies reporting contrasting findings. Here we tested whether musical engagement predicts (1) a diagnosis of depression, anxiety, schizophrenia, bipolar or stress-related disorders based on nationwide patient registers or (2) self-reported depressive, burnout and schizotypal symptoms in 10,776 Swedish twins. Information was available on the years individuals played an instrument, including their start and stop date if applicable, and their level of achievement. Survival analyses were used to test the effect of musical engagement on the incidence of psychiatric disorders. Regression analyses were applied for self-reported psychiatric symptoms. Additionally, we conducted co-twin control analyses to further explore the association while controlling for genetic and shared environmental confounding. Results showed that overall individuals playing a musical instrument (independent of their musical achievement) may have a somewhat increased risk for mental health problems, though only significant for self-reported mental health measures. When controlling for familial liability associations diminished, suggesting that the association is likely not due to a causal negative effect of playing music, but rather to shared underlying environmental or genetic factors influencing both musicianship and mental health problems.
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Project description:We know little about the psychological experiences of children and young people who have participated in virtual group music-making during the Coronavirus disease (COVID-19) pandemic. Adopting a mixed-methods design, we worked across three music education hubs in the UK, with a total 13 virtual music groups. These included a range of mainstream ensembles, inclusive ensembles targeting young people with special educational needs and/or disabilities, and inclusive music production spaces, targeting young people from lower socio-economic backgrounds. Reported progress in intra- and inter-personal psychological outcomes was investigated using quantitative and qualitative staff session reports, which were collected since before the pandemic (n1 for in-person sessions = 87, n2 for virtual sessions = 68), and surveys distributed to tutors, young people, and their parents during the first and second United Kingdom (UK) national lockdowns (n3 for qualitative responses = 240, n4 for quantitative responses = 96). Satisfaction of three basic psychological needs of self-determination theory and their relation to joint music-making in virtual spaces was also observed in real time by the researchers performing quantitative checklist observations on 16 separate occasions. Findings indicated that virtual music groups represented a meaningful psychological resource for the participating children and young people, especially considering the lack of opportunities offered by their schools and other extra-curricular activities. Through their participation with virtual group music-making activities, young people used music as a tool for self-expression and emotion management, restored lost musical identities and confidence, and preserved treasured social connections. Virtual alternatives to group music-making appear to indirectly nurture the sense of belongingness, mediated by supportive staff behaviors, but their direct connection, which has been widely reported for in-person group music-making experiences, has not been observed in virtual music groups.
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Project description:Mary Elizabeth is an Oncology Clinical Nurse Specialist from Memorial Sloan-Kettering Cancer Center in New York City, New York. She graduated from University of Delaware in 1985, with a Bachelor's degree in nursing and followed in 1989, with a Masters of Nursing from Columbia University specializing in oncology. Mary Elizabeth works as a Clinical Nurse Specialist in Memorial Sloan Kettering's ambulatory medical oncology consultative services. Her role includes modeling professional practice to the nurses of the services for which she has responsibility including mentoring and precepting nurses who are new to a practice, coordinating and evaluating their clinical experiences, and overseeing their development in the oncology nursing specialty and the ambulatory clinical practice role. Mary Elizabeth regularly "walks the walk" filling in and assisting in busy practices; this helps her maintain knowledge of the latest advances in disease management as well as experience firsthand the challenges of the ambulatory nursing role. Over the past few years, she has been practicing within MSK's busy and growing world - renowned retinoblastoma (RB) clinic. Mary Elizabeth has presented on RB nationally and at international conferences in the hopes of bringing this curable disease to the attention of nurses worldwide. Early diagnosis and early access to treatment can save lives, eyes, and vision.
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Project description:Stringent lockdown measures implemented in Italy to mitigate the spread of COVID-19 are generating unprecedented economic impacts. However, the environmental consequences associated with the temporary shutdown and recovery of industrial and commercial activities are still not fully understood. Using the well-known carbon footprint (CF) indicator, this paper provides a comprehensive estimation of environmental effects due to the COVID-19 outbreak lockdown measures in Italy. Our aim was to quantify the CF associated with the consumption of energy by any economic activity and region in Italy during the lockdown, and then compare these environmental burdens with the CF calculated for analogous periods from 2015 to 2019 (~March and April). Complementarily, we also conducted a scenario analysis to estimate the post-lockdown CF impact in Italy. A consumption-based approach was applied according to the principles of the established Life Cycle Assessment method. The CF was therefore quantified as a sum of direct and indirect greenhouse gases (GHGs) released from domestically produced and imported energy metabolism flows, excluding the exports. Our findings indicate that the CF in the lockdown period is ~-20% lower than the mean CF calculated for the past. This means avoided GHGs in between ~5.6 and ~10.6 Mt CO2e. Results further suggest that a tendency occurs towards higher impact savings in the Northern regions, on average ~230 kt CO2e of GHGs avoided by province (against ~110-130 kt CO2e in central and Southern provinces). Not surprisingly, these are the utmost industrialized areas of Italy and have been the ones mostly affected by the outbreak. Despite our CF estimates are not free of uncertainties, our research offers quantitative insights to start understanding the magnitude generated by such an exceptional lockdown event in Italy on climate change, and to complement current scientific efforts investigating the relationships between air pollution and the spread of COVID-19.
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