The psychological, psychophysical and ergogenic effects of music in sport: A review and synthesis

This is the post-print of this chapter - Copyright @ 2008 RoutledgeWe have presented two complementary conceptual approaches underlying the study and application of music in sport and exercise contexts [103, 104]. We have also established that music can be applied to sports training and competition in many different ways, and have provided 573 initial evidence for a quartic relationship between exercise heart rate and music tempo preference. One of the main demonstrated benefits of music is that it enhances psychological state, which has implications for optimising pre-competition mental state and increasing the enjoyment of training activities. Used synchronously, music can boost work output and makes repetitive tasks such as cycling or running more energy efficient. When we embarked upon our programme of research almost two decades ago, our intention was to promote more judicious use of music. The evidence that we have accumulated coupled with the findings of many other researchers from around the world, should allow athletes and practitioners to tap the psychological, psychophysical and ergogenic effects of music with greater precision

Legal Education Unbundled (and Rebundled)

This essay calls for an unbundling of legal education, much like the kind of unbundling we have seen in the cable, music, and print news media. It suggests that the standard legal education bundle -the generalized JD-is just one of many forms of legal education that can be packaged appropriately for today\u27s legal education market needs

Effects of synchronous music on treadmill running among elite triathletes

This is the post-print version of the final paper published in Journal of Science and Medicine in Sport. The published article is available from the link below. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. Copyright @ 2011 Elsevier B.V.Objectives: Music can provide ergogenic, psychological, and psychophysical benefits during physical activity, especially when movements are performed synchronously with music. The present study developed the train of research on synchronous music and extended it to elite athletes. Design: Repeated-measures laboratory experiment. Method: Elite triathletes (n = 11) ran in time to self-selected motivational music, a neutral equivalent and a no-music control during submaximal and exhaustive treadmill running. Measured variables were time-to-exhaustion, mood responses, feeling states, RPE, blood lactate concentration, oxygen consumption and running economy. Results: Time-to-exhaustion was 18.1% and 19.7% longer, respectively, when running in time to motivational and neutral music, compared to no music. Mood responses and feeling states were more positive with motivational music compared to either neutral music or no music. RPE was lowest for neutral music and highest for the no-music control. Blood lactate concentrations were lowest for motivational music. Oxygen consumption was lower with music by 1.0%–2.7%. Both music conditions were associated with better running economy than the no-music control. Conclusions: Although neutral music did not produce the same level of psychological benefits as motivational music, it proved equally beneficial in terms of time-to-exhaustion and oxygen consumption. In functional terms, the motivational qualities of music may be less important than the prominence of its beat and the degree to which participants are able to synchronise their movements to its tempo. Music provided ergogenic, psychological and physiological benefits in a laboratory study and its judicious use during triathlon training should be considered.QAS Centre of Excellence for Applied Sport Science Researc

Ergogenic and psychological effects of synchronous music during circuit-type exercise

This is the post print version of the article. The official published version can be obtained from the link below.Objectives: Motivational music when synchronized with movement has been found to improve performance in anaerobic and aerobic endurance tasks, although gender differences pertaining to the potential benefits of such music have seldom been investigated. The present study addresses the psychological and ergogenic effects of synchronous music during circuit-type exercise. Design: A mixed-model design was employed in which there was a within-subjects factor (two experimental conditions and a control) and a between-subjects factor (gender). Methods: Participants (N ¼ 26) performed six circuit-type exercises under each of three synchronous conditions: motivational music, motivationally-neutral (oudeterous) music, and a metronome control. Dependent measures comprised anaerobic endurance, which was assessed using the number of repetitions performed prior to the failure to maintain synchronicity, and post-task affect, which was assessed using Hardy and Rejeski’s (1989) Feeling Scale. Mixed-model 3 (Condition) X 2 (Gender) ANOVAs, ANCOVAs, and MANOVA were used to analyze the data. Results: Synchronous music did not elicit significant (p < .05) ergogenic or psychological effects in isolation; rather, significant (p < .05) Condition X Gender interaction effects emerged for both total repetitions and mean affect scores. Women and men showed differential affective responses to synchronous music and men responded more positively than women to metronomic regulation of their movements. Women derived the greatest overall benefit from both music conditions. Conclusions: Men may place greater emphasis on the metronomic regulation of movement than the remaining, extra-rhythmical, musical qualities. Men and women appear to exhibit differential responses in terms of affective responses to synchronous music

On the role of lyrics in the music-exercise performance relationship

This is the post-print version of the final paper published in Psychology of Sport and Exercise. The published article is available from the link below. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. Copyright @ 2013 Elsevier Ltd.Objectives - To examine the role of lyrics on a range of psychological, psychophysical, and physiological variables during submaximal cycling ergometry. Design - Within-subject counterbalanced design. Method - Twenty-five participants performed three 6-min cycling trials at a power output corresponding to 75% of their maximum heart rate under conditions of music with lyrics, same music without lyrics, and a no-music control. Cycling cadence, heart rate, and perceived exertion were recorded at 2-min intervals during each trial. Positive and negative affect was assessed before and after each trial. Results - Participants cycled at a higher cadence towards the end of the cycling trials under music with lyrics. Main effects were found for perceived exertion and heart rate, both of which increased from min 2 through to min 6, and for affect: positive affect increased and negative affect decreased from pre- to post-trials. Conclusions - Participants pedalled faster in both music conditions (with and without lyrics) while perceived exertion and heart rate did not differ. The inclusion of lyrics influenced cycling cadence only at min 6 and had no effect on the remaining dependent variables throughout the duration of the cycling trials. The impact of lyrical content in the music–exercise performance relationship warrants further attention in order for us to better understand its role

Large-Scale User Modeling with Recurrent Neural Networks for Music Discovery on Multiple Time Scales

The amount of content on online music streaming platforms is immense, and most users only access a tiny fraction of this content. Recommender systems are the application of choice to open up the collection to these users. Collaborative filtering has the disadvantage that it relies on explicit ratings, which are often unavailable, and generally disregards the temporal nature of music consumption. On the other hand, item co-occurrence algorithms, such as the recently introduced word2vec-based recommenders, are typically left without an effective user representation. In this paper, we present a new approach to model users through recurrent neural networks by sequentially processing consumed items, represented by any type of embeddings and other context features. This way we obtain semantically rich user representations, which capture a user's musical taste over time. Our experimental analysis on large-scale user data shows that our model can be used to predict future songs a user will likely listen to, both in the short and long term.Comment: Author pre-print version, 20 pages, 6 figures, 4 table

The Soundtrack (Putting Music in Its Place)

There are currently many books and journals on film music in print, most of which describe music as a separate activity from film, applied to images most often at the very end of the production process by composers normally resident outside the filmic world. This article endeavours to modify this practice by placing music within the larger notion of “the soundtrack”. This new model assumes that irrespective of industrial determinants, the soundtrack is perceived by an audience as such a unity; that music, dialogue, effects and atmospheres are heard as interdependent layers in the sonification of the film. We often can identify the individual sonic elements when they appear, but we are more aware of the blending they produce when sounding together, much as we are when we hear an orchestra

The operas of Michael Tippett : the inner values of Tippett as portrayed by selected female characters : a thesis presented in fulfilment of the requirements for the degree of Master of Philosophy in Music at Massey University, New Zealand

PLEASE NOTE: Appendix 6 – Appendix 11 Music scores removed due to copyright restriction. Please consult print copy in Library.Sir Michael Kemp Tippett (1905-1998) was a British composer who wrote five operas. This dissertation explores the dramatic and musical presentation of five selected female characters, one from each of Tippett's operas: Sosostris (alto) The Midsummer Marriage (1955); Helen (mezzo-soprano) King Priam (1962); Denise (dramatic soprano) The Knot Garden (1970); Hannah (rich mezzo) The Ice Break (1977); Jo Ann (lyric soprano) New Year (1989). It is argued that each of the five selected characters portrays Tippett's inner values of humanitarianism, compassion, integrity and optimism. The dissertation focuses on certain key moments in each opera with an analysis of a central aria. Due to the writer's interest in the performance aspect of these operas, discussion centres on melody, the timbre of voice-types linked with instrumentation, rhythm, word-setting and the vexed question of Tippett's libretti